Three days into 2019 and already two tragic deaths. First, I read about former Dr Hook singer, Ray Stewart, famous for his eye patch, passed away quietly in his sleep at his home in Canada. He was 81. Dr Hook was famous for soft rock hits in the 1970s such as “When You’re in Love With a Beautiful Woman” and “Sharing the Night Together.” My personal favourite Dr Hook tune can be accessed at the bottom of this post.
Ray Stewart
The second passing comes from the world of wrestling, which I was a big fan of in the 1980s. Former WWE commentator and interviewer ‘Mean’ Gene Okerlund passed away in Florida today. He was 76. I remember his unique commentary and interview style which will never be duplicated.
While in 1985, most of the world was excited about Foreigner releasing their first studio in nearly four years, I was a little skeptical. My skepticism was based on the logic that my final memories from Foreigner “4” was their famous ballad, “Waiting for a Girl Like You” and when my introduction to the new “Agent Provocateur” album was another ballad, I concluded that Foreigner had gone the way of REO Speedwagon and was simply content to achieve commercial success through ballads. No matter how good everyone thought “I Want to Know What Love Is” and it is a good song, I had prematurely drawn the conclusion that the new album would be mainly ballads and that Foreigner had foregone their hard rock roots which had brought them so much success in the past.
Fortunately, my sister did buy the album and gave me a listen to it and my skepticism was removed. Let me be frank, in my mind, “Agent Provocateur” comes nowhere close to classics like my personal favourite, “Double Vision,” but that doesn’t mean it’s a bad album. True, there are more ballads on here than I would have liked, the previously mentioned single and “That Was Yesterday,” another song which brought Foreigner top 40 success. Plus, “Growing Up the Hard Way,” while not a ballad is over done with the synthesizer and I can’t help thinking how much better that song would have been if there was a stronger power chord from a guitar on it. However, there is evidence a plenty on “Agent Provocateur” to show that the band hadn’t totally forgotten where they came from.
Opening track, “Tooth and Nail” dispels any ideas that “Agent Provocateur” is going to be an album of ballads. It does its job of hooking the listener and is a good steady rock track. Even though the next three tracks after are the ballads and synth pop singles, one doesn’t lose interest as that opening tracks gives hope that there is more like that on the album. “Reaction to Action” does exactly that and it has the best guitar solo on the album. Therefore, it’s awarded the hidden gem for the album. I have a theory about the track “Stranger in My Own House.” I theorize that Lou Gramm and Mick Jones worried that people like me would think this album would be chuck full of ballads, so they recorded this song with that in mind. “Stranger in My Own House” is a good hard rocking track, probably the hardest on the album with another cool guitar solo. But I think they try too hard to be hard rock with Gramm doing more screaming than singing. While it’s a cool track, I want to say to Lou, “Relax man, you don’t have to prove you can still rock.”
“A Love in Vain” may return to the ballads but there is some good keyboards work on the track and a little guitar making a good 70s style progressive rock sounding song. Maybe that one should have been released as a single as it’s better than it successor, “Down on Love” which was. This one, while not bad, has too much of an 80s synth pop sound for me. “Two Different Worlds” is a definite ballad and it sort of combines the previous two tracks without the synth pop which is replaced with a decent guitar solo. That leaves the closer, “She’s Too Tough,” and though it brings the album full circle, the song reminds me too much of the Kenny Loggins single, “Danger Zone.”
Like with Heart, the question here is, “Was Agent Provocateur” a sell out album for Foreigner?” Okay, they did have a number one single on it and while I might not think so, many other people out there did and it’s probably why it didn’t sell as big as some of their previous. My belief on the lack of sales was that Foreigner were trying to be all thing to all people and in a 1980s society which like to put things into nice neat categories, that didn’t sit well.
Next post: Marillion- Misplaced Childhood
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Another example of if I had paid attention to MTV in 1985, it would have resulted in my missing out on another great album. When the made for MTV video for the title track of Joe Walsh’s album, “The Confessor,” came on, I wasn’t that impressed. Fortunately, I knew of old from his 1981 album, “There Goes the Neighbourhood,” not to judge Joe on the singles. Therefore, I was able to delve into this offering without hesitation and I would have more regret if I hadn’t.
“The Confessor” is an album of three, possibly four parts. The first two songs all have a reggae vibe to it and I have always thought that if Joe wanted to go full on reggae, he was quite capable of doing so. Saying that, each of the first two songs have their own unique stamp on them. The opener, “Problems” might sound reggae through the verses but definitely more hard rock in the chorus. With “I Broke My Leg,” again there’s a reggae vibe to it but Joe throws in some interesting reverb work on the guitar. Those first two tracks make for an interesting hook for the rest of the album.
Tracks 3-6 go into more familiar Walsh territory. The guitar work on “Bubbles” reminds me a little of his 1970s classic, “Rocky Mountain Way” and the song itself, sounds a bit more from said decade. “Slow Dancing” isn’t one for actual slow dancing but it has a way out bluesy feel to it with some more interesting guitar work from you know who. The next track, “15 Years,” could be a contender for hidden gem on the album. More harder rock than the previous two and he nails the solo on it. It’s a great blues based rock song. At the end of the second act is the title track which you get in it’s full seven minute glory and not the four minute MTV version. I much prefer that one, especially as you get to hear much more of Joe’s cool guitar work. It starts with a cool cowboy sounding acoustic guitar before going much harder. I can’t think that a certain band from New Jersey got the idea for a similar song on their 1986 album from Joe on this one.
If “15 Years” wasn’t hard enough, you will not be disappointed with the next two tracks. “Rosewood Bitters,” a song Joe originally recorded with the Michael Stanley Band. This was my second contender for hidden gem. It’s more of a melodic rock tune with some cool guitar hooks. However, I think I’ll have to go with the full rock tune, “Good Man Down” for actual hidden gem. This song is a belter and Joe really rocks out on it, guitar solo and all.
The final track, “Dear John,” goes back to the more reggae sound of the first two tracks. Was this Joe coming full circle on the album? Your guess is as good as mine. Whatever he was thinking, it worked for me as I really like “The Confessor.”
Track Listing:
Problems
I Broke My Leg
Bubbles
Slow Dancing
15 Years
The Confessor
Rosewood Bitters
Good Man Down
Dear John
Joe Walsh
Joe Walsh- lead vocals, lead guitar, synthesizer, bass, talk box
Waddy Watchel- guitar
Mark Andes- bass
Mike Procraro- bass
Dave Margen- bass
Dennis Bellafield- bass
Rick Rosas- bass
Denny Carmassi- drums
Joe Keltner- drums
Rick Moratta- drums
Jeff Procraro- drums
Chet McCracken- drums
Randy Newman- keyboards
Alan Pasqua- keyboards
Jerry Petersen- saxophone
Earl Lon Price- tenor sax
Kenneth Tussing- trombone
Timothy B Schmidt- backing vocals
Critics rubbished “The Confessor” saying that Joe Walsh was a decade behind the times. I guess they expected him to use synths all throughout the album. What do they know? The answer is that in spite of the critics, the album sold pretty well and I can certainly understand why. Who cares if it was too 1970s for some people? I don’t.
Next post: Heart
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Originally, I wasn’t going to post about this album. When I first heard tracks from the newly named Starship, (formerly Jefferson Starship) I thought, “OMG, how the mighty have fallen.” You see, from 1976-84, Jefferson Starship was my favourite band. Their albums during those years charted my own personal musical journey. The early albums from the mid to late 1970s, “Red Octopus,” “Spitfire” and “Earth” were much more progressive and considered by many to be mellow out rock. I never disagreed with this. However, there were even occasions on those albums, especially “Spitfire,” where they demonstrated they could rock out. That thought followed me into 1979 and then the early 80s where their albums, “Freedom At Point Zero,” “Modern Times” and “Winds of Change” were much more hard rock and I fully embraced the new sound as my own musical tastes were going harder.
Looking back to the past, some might argue that the 1984 “Nuclear Furniture” album was a sign of things to come with the Starship. It went back away from the total hard rock sound of the previous three albums but not as progressive as their 1970s ones. It had a more emerging 80s synth pop sound on some of the songs but not enough for me not to like it. Besides, the lyrics of many of the songs were more politically aware, something else I was getting into, so that album was okay. However, it was at this time rhythm guitarist and founding member Paul Kantner left the band and that would change the total dynamics of the band, starting with a law suit over the Jefferson moniker. If you remember when I posted about Paul’s passing, I stated that it was usually the songs he penned I liked the most on the albums.
In 1985, Starship appeared with the “Knee Deep in the Hoopla” album. I was curious and then I heard the first single, “We Built This City” on the radio and that was it. The lyrics might sing, “We built this city on rock and roll” but to me, a more accurate line would have been, “We built this city on top 40.” That song, established Starship as a top forty band with that song soaring in the charts. The second single, “Sarah,” was little better. The only thing that redeems it is Craig Chaquico hammers out a tidy guitar solo on it. But for the most part, I came to the conclusion in 1985 that Starship had sold out! Now, that label got banded about quite a lot back then and we can debate the semantics of it forever but what I did know was that I did not like their new sound.
Examining “Knee Deep in the Hoopla” further, it continues to be a top forty oriented synth pop album. Definitely not for me in 1985 and though I might have mellowed with age, it still doesn’t do it for me. The only songs which capture any interest for me are three of the middle ones, “Rock Myself to Sleep,” “Desperate Hearts” and “Private Room.” Kevin DuBrow from Quiet Riot fame sings backing vocals on “Rock Myself to Sleep” and that is the best song on the album for me. “Private Room isn’t too far behind but the rest of the album, with the possible exception of “Hearts of the World (Will Understand), doesn’t do it for me, even with Craig’s guitar solos.
What really angered me at the time and still does now is the reduction of Pete Sears to bass only. On those three early progressive albums, Pete shows his wizardry with the keyboards. I even equated him to the likes of Keith Emerson and Rick Wakeman back in the late 1970s. For further clarification, listen to the tracks, “Love Too Good” off the “Earth” album and “Sandalphon” from “Red Octopus” and I think you’ll be convinced. So, why in the hell did they relegate him to bass. Peter Wolf who plays keys on the album doesn’t hold a candle to Pete.
Track Listing:
We Built This City
Sarah
Tomorrow Doesn’t Matter Tonight
Rock Myself to Sleep
Desperate Heart
Private Room
Before I Go
Hearts of the World (Will Understand)
Love Rusts
Starship
Mickey Thomas- lead vocals
Grace Slick- lead vocals
Craig Chaquico- guitar
Pete Sears- bass
Donny Baldwin- drums
Additional Musicians
Peter Wolf- keyboards
Les Garland- DJ voice on “We Built This City”
Kevin Dubrow- backing vocals on “Rock Myself to Sleep”
Another occurrence which annoyed the shit out of me back then was when I heard a Starship concert broadcast on the radio. During the concert, they played their classic hit “Find Your Way Back” from the “Modern Times” album. That song possesses the band’s greatest guitar intro of all times. However, when they played it at this concert, that great intro was all synthed out. For me, that was the final nail in the coffin and while I will always have great memories of Jefferson Starship, Starship can be left on the shelf.
Next post: Pat Benatar- Tropico
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It looks as if 2018 is going to suck again as it’s my sad duty to announce the passing of former Lynyrd Skynyrd guitarist Ed King. Ed passed away from lung cancer at his home in Nashville, Tennessee. He was 68. Ed joined Skynyrd from when his original band, Strawberry Alarm Clock opened for them in 1972. Originally, he joined as a temporary replacement for bassist Leon Wilkeson but was added as a third guitarist later. He co-wrote the famous Lynyrd Skynyrd hit, “Sweet Home Alabama.” Another tragic loss to the music industry during three years of tragic losses. I hope you will all join me in offering my condolences to Ed’s family.
In my last few posts, I have recollected how back in 1985, I thought several great rockers from the 1970s had sold out and gone too commercial only to realize that I was wrong when finally getting around to listening to their album. However, I never said this about guitar god Eric Clapton when his “Behind the Sun” album came out in the same year. Ironically, all the music critics at the time said he did exactly that, citing his collaboration with Phil Collins on the album. One said that Eric was in danger of turning his back on his faithful following and liable to end up playing his greatest hits on the Vegas circuit. What do critics know?
It was on tour for this album when I finally got to see Eric Clapton in his full glory in concert. I do make a passing comment about it in “Rock And Roll Children.” Memories from that piece of history have brought up two items from that night. One, Eric did play a lot of his greatest hits that evening but he did play some from the album too. The other and I think this might be down to management, his two female backing singers were dressed kind of new wave but that didn’t affect his brilliant music played that evening. If anything, I thought the biggest act of sacrilege from the show was that he let the rhythm guitarist play a solo on “Cocaine.”
If Eric Clapton sounds new wave or too commercial on the “Behind the Sun” album, I sure as hell don’t hear any evidence of it. To me, this was Eric Clapton at his usual best. Even looking at the two singles released from the album, “She’s Waiting” and “Forever Man” do not give me any thought that he was trying to go too commercial 80s here. “She’s Waiting” is everything I had always remembered and liked about his music and “Forever Man” reminds me of his great hit with Derek and the Dominoes, “Layla.” So again, I shoot down the accusation that Eric was trying to sound too commercial. One song that totally refutes that claim is my vote for hidden gem, “Same Old Blues.” Here, he shows how he got the nickname ‘Slow Hand’ as he solos all through the song, classic blues guitar at its very best.
Some my counter claim by citing his cover of the 1979 disco hit by one hit wonder Amii Stewart, “Knock on Wood.” Clapton’s version of this song sounds nothing like the original disco tune. He puts his own spin on the song, that’s a certainty. If there’s any variation from traditional Clapton, it has to be with “See What Love Can Do” which sound rather calypso but it’s played very well with a classic Clapton guitar solo it. In fact, what I love about the album is the fact that he solos his way all the way through it and that’s what I have always liked about him. He is truly a guitar god.
Amii Stewart
Track Listing:
She’s Waiting
See What Love Can Do
Same Old Blues
Knock On Wood
Something’s Happening
Forever Man
It All Depends
Tangled In Love
Never Make You Cry
Just Like a Prisoner
Behind the Sun
Eric Clapton
Eric Clapton- lead guitar, lead vocals
Phil Collins- drums (tracks 1,3,4,9,10), shaker (tracks 7 & 9)
Donald Dunn (From the Blues Brothers)- bass (tracks 1,3,4, 7-10)
Jamie Oldake- drums (tracks 1,3,4, 7-10)
Chris Stainton- synthesizers, organ, piano (tracks 1,3,4, 7-10)
Marcy Levy- backing vocals (tracks 1-3 and 6-9)
Lyndsey Buckingham- rhythm guitar (track 5)
James Newton Howard- synthesizer (track 5)
Jerry Lynn Williams- backing vocals (tracks 2 & 5)
Lenny Castro- congas, percussion (tracks 2 & 6)
Ray Cooper- percussion, gong, bongos (tracks 1,3,7,8)
When “Behind the Sun” came to my attention, I was glad that a classic album from a great musician was able to fill the gap in what was a few metal starved months for me. This album was never too 80s pop in my view, it just cooks.
Next post: Lone Justice
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Here’s another example of how I was so focused on heavy metal in early 1985 that I didn’t fully appreciate a good non-metal album. I have to admit, back then I didn’t have much experience of the legend that is Van Morrison. My most memorable experience of him was his performance in the film, “The Last Waltz” where he sang with The Band. Other than that, what I knew of him was virtually zero.
While by 1985, I had become totally fed up with commercial radio, I have to thank it for this one. The single from the 1985 album, “A Sense of Wonder,” “Tore Down a la Rimbaud” got a considerable amount of airplay in the early part of the year. It was only after a few listens that I got past my “it’s not metal” mentality and realized that “Hey, this song is pretty good.” However, for some reason, I never bought the album, which was a bit of a shame because I missed out on a good one.
Wikapedia puts Van’s “A Sense of Wonder” album in the category of Celtic Soul. Well the man is from Northern Ireland and he does put his soul into the album so it’s hard to disagree with that label. Back then, I would have put it into either or both of the categories of soft rock or mellow out rock. It covers both. While the deafening power chords I was so into in 1985 and still am today are absent, one can’t fault the quality of the musicianship on it. Here’s another myth I believed about Van which this album has obliterated. I thought that he only sang because that’s what he did in “The Last Waltz.” But he plays guitar and piano and rather well judging from the instrumentals “Evening Meditation” and “Boffyflow and Spike,” the latter sounding like true Irish folk music.
While the single remains my favourite song on the album, the rest of the album keeps up as well. In my opinion, “Ancient of Days” could have been released as a single too because it’s almost as good. After the first mentioned instrumental, he goes very almost gospel soul softer though I think the title track goes on a bit too long for me. The second instrumental does pick things up a pace after and “If You Only Knew” keeps that pace going with “A New Kind of Man” closing the album out with a good feeling.
Track Listing:
Tore Down a la Rimbaud
Ancient of Days
Evening Meditation
The Master’s Eyes
What Would I Do
A Sense of Wonder
Boffyflow and Spike
If You Only Knew
Let the Slave (Incorporating the Price of Experience)
A New Kind of Man
Van Morrison
Van Morrison- vocals, guitar and piano
John Allair- organ
Bob Doll- trumpet
Tom Donlinger- drums
Pee Wee Ellis- tenor saxophone
David Hayes- bass
Chris Michie- guitar
Pauline Lazano- backing vocals
Bianca Thornton- backing vocals
The group Moving Hearts performs on tracks 6 and 7
I’m now a believer. Again, it could be me mellowing a tiny bit with age but I now appreciate how good the “A Sense of Wonder” album from Van Morrison really is. Perhaps I should delve into his discography a little more.
Next post: Tom Petty and the Heartbreakers- Southern Accents
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The more I think about it, the more convinced I am that I was not as musically open minded as I thought I was in the early part of 1985. While I make no justification for this, I do think the reason might have been that I was in longing after the wave of heavy metal that was played on commercial radio throughout 1984 became non existent in the early part of the following year. That was probably why I poo-pooed the “Building the Perfect Beast” album from Don Henley. Being honest, I was in Eagles mode (even though they had split up five years earlier) with not just Don but all former members of this iconic band. I expected all of their solo material to resemble the classic “Hotel California” and the singles from this album didn’t do that. So, I ignored it until a friend lent it to me and I had a listen. Then I realized what I fool I had been.
Sure, the big single “The Boys of Summer” doesn’t sound like “Hotel California” but the musicianship on the song is simply fabulous. There is some great guitar work from Tom Petty and the Heartbreakers guitarist Mike Campbell and Don’s voice is clean on this and all of the tracks. I have really come to like this track in my later years.
Upon further reflection back to 1985, I think that I put music into categories of heavy metal and synth pop. “Building the Perfect Beast” not being metal, I put it into the other category. Again I say “Fool!” at least to myself anyway. There is absolutely nothing synth pop about this album. If anything, there are tracks that take me back to The Eagles more country rock sound from the early 1970s. Tracks that bear evidence to this are the fast paced “Man With a Mission” and my vote for hidden gem, “You’re Not Drinking Enough.” For some reason, that track reminds me of the Eagles’ classic, “Take Me to the Limit.” But it does say “Early Eagles” all through the song. Thinking back to early 85, at the time I was dating a woman who had a drinking problem and now I’m linking this song with that. “Not Enough Love in the World” is another example of what I am trying to talk about. In fact this track would have fitted perfectly on the Eagles’ “Long Road From Eden” album.
One reason for why this album sounds as good as it does is that Don got a load of well known singers and musicians to guest on it. While you know it is definitely Don Henley on every track, these guests, have a look below to see who, add to the quality of the album for sure.
Track Listing:
The Boys of Summer
You Can’t Make Love
Man With a Mission
You’re Not Drinking Enough
Not Enough Love in the World
Building the Perfect Beast
All She Wants to Do is Dance
A Month of Sundays
Sunset Grill
Drivin’ With Your Eyes Closed
Land of the Living
Don Henley
Don Henley- lead vocals, percussion (tracks 5,6,9), drums (tracks 2-4,7), keyboards (track 6)
Danny ‘Kootch’ Kortchmar- guitars, organ (4), synthesizers (tracks 1,3,6), percussion (tracks 6,9,10), keyboards (9), synthesizer guitar and horn solos (8), ormichard (4), horns (3)
Michael O’Donahue, Waddy Watchel, JD Souther, Carla Olson- track 6
Patty Smyth- track 6, 8-10
Martha Davis- tracks 6&7
Marie Pascale Elfman, Dominique Manicelli- track 9
Sam Moore- track 4
Brian Dear, I owe you a thanks for giving me this classic Don Henley album to listen to. Otherwise, I would have been enslaved to my ignorance that “Building the Perfect Beast” was another 80s synth pop album. It is clearly not and full marks to Don for it.
Next post: The Wrestling Album
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A band that caught mine and many other people’s attention was Giuffria with their self titled debut album. The band was originally formed as a side project by keyboards player Greg Giuffria after he left his former band Angel. A band I had heard great things about back in the day but never got around to listening to. Back to Giuffria, their first single, “Call to the Heart” did get a lot of airplay and according to recorded history, number fifteen in the charts. It was one of those ballads that the ladies seemed to really like but it had some good progressive rock hooks as well as a guitar solo to grab the attention of men. If I’m honest, I liked the song but it really wasn’t heavy enough for me.
Everything that Giuffria was capable of doing can be found in the opening track of the album, “Do Me Right.” It starts with some classic 1970s sounding progressive rock via a great keyboard intro. Then the song carries on with some great vocals backed up by a more than capable rhythm section before guitarist Craig Goldy hammers out his best solo on the album. It’s definitely my favourite track.
The two hardest tracks on the album are “Don’t Tear Me Down” and “Dance” and it is probably a good thing that those two songs were back to back after the forementioned ballad. It proved to doubters that they could rock as much as anyone. Things go slightly softer and more melodic, bordering on commercial after that with the remainder of the songs, “Turn Me On” being the harder rocking exception. Goldy and Giuffria really cook with guitar and keyboard on that one. “The Awakening” is rather amusing, with the children’s choir and keyboards giving it that Saturday horror film feel. Saying that, the talent of this band pulls up the quality of each song making them more enjoyable.
No matter what you think of the songs, you can’t deny that this was one talented band. David Glen Eisley had a voice that was as good as many lead singers in that day. The keyboard skills of Greg Giuffria show themselves in every song. Chuck Wright and Alan Krigger are very good rhythm section and as for the guitarist, Craig Goldy, his playing on the album leaves me to conclude that it was no wonder why he was head hunted to join Dio a year later.
Track Listing:
Do Me Right
Call to the Heart
Don’t Tear Me Down
Dance
Lonely in Love
Trouble Again
Turn Me On
Line of Fire
The Awakening
Out of the Blue
Giuffira
David Glen Eisley- lead vocals, keyboards, harmonica
Greg Giuffria- keyboards, backing vocals
Craig Goldy- guitar
Chuck Wright- bass, backing vocals
Alan Krigger- drums, percussion
While doing a bit of research for the post, I had one rumour from 1985 quashed. In said year, Giuffria went on tour supporting legends Deep Purple. The rumour was that Purple kicked them off the tour because Giuffria was blowing them away every night. I have always found that hard to believe, especially as I saw Deep Purple in this year and they were superb. From what I’ve read, Ritchie Blackmore was a bit of an a””hole towards the band. He cut their stage time from 45 minutes nearly in half to 25, forbade them to play any guitar solos and they had to play with the arena lights on. Therefore, they left the tour on their own accord and I don’t blame them. While I missed my chance to see them live, this album is a good fall back.
Next post: Don Henley- Building the Perfect Beast
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When I begin a new year of my trip through the golden decade of heavy metal, I always start with albums that were made in the previous year but didn’t come to my attention until the said year. Because there were so many great albums in 1984, I didn’t get around to listening to a good number until 1985. One of these was “The Allnighter” from the late former Eagles guitarist/singer, Glenn Frey.
Reflecting back to early 1985, I used to wonder if I was a little unfair to both Glenn and one of his former bandmates who also released a solo album in this year. First, I was very much into all things metal and “The Allnighter” is definitely not metal. Furthermore, I was very much into the last two Eagles albums, “Hotel California” and “The Long Run” which did feature some harder rock than their early 1970s albums.
Glenn goes further away from his Eagles roots with this album as it’s a more mellower and somewhat bluesier sound. There are some ballads on here like “Let’s Go Home” and “Lover’s Moon.” Glenn’s voice has always been suited to these but it is also versatile enough for the faster songs. “Sexy Girl” is kind of in the middle here and he does sing it well. I recently heard a live version of it and it sounds better than the commercial version. However, the best song and one that I’ve come to appreciate far more in my aging years is “Smuggler’s Blues.” This song is proof that Frey can sing harder stuff, not that I had any doubt he couldn’t. What has really impressed me about it is the musicianship. Like his previous album, Glenn uses a ton of musicians on it, so I don’t know who does the guitar solos on the song but they are ace. Full marks to whoever played them. The song did feature on the mid 1980s TV show “Miami Vice.”
Track Listing:
The Allnighter
Sexy Girl
I Got Love
Somebody Else
Lover’s Moon
Smuggler’s Blues
Let’s Go Home
Better in the USA
Living In Darkness
New Love
Glenn Frey
Glenn Frey- lead vocals, guitar, bass, drums, piano, synthesizer
Josh Leo, Duncan Cameron- guitar
John ‘JR’ Robinson, Michael Huey, Larry Londin- drums
David Hood, Bryan Garofalo- bass
Greg Smith, Willie Bergman, Al Garth- saxophone
Vince Melamed, Allen Blazek, Barry Beckett- piano
Barry Beckett, David ‘Hawk’ Wollinski- synthesizer
Nick DeCaro- strings
Steve Foreman- percussion
Victor Feldman, Jack Tempchin, Oren Waters, Jack Galloway, Luke Waters- backing vocals
I might have mellowed a bit with age and while I like some of what’s on “The Allnighter,” it really isn’t my cup of tea. There are some good songs on it and it’s a great album to mellow out to or provide suitable background settings but I won’t put away my metal albums in favour of it.
Next post: I know I said at the beginning of the post that I’ll be starting with albums that came out originally in 1984 but I have to make an exception. Download is this weekend and I need the correct inspiration.
Kreator- Endless Pain
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